Focus - Institute of Videography

Transcription

also this
month
The monthly publication of the Institute of Videography
IOV
Academy
Membership
underway
By Phil Janvier
Sound Forge
Pro 10
Review
By Phil Janvier
Issue 186 - July 2010 - £3.50
Video
Business
Start Up Marketing
Pillars Part 3
By Kevin Cook
INSTITUTE OF
VIDEOGRAPHY
Foreword
Media-Merge
INSTITUTE OF
VIDEOGRAPHY
Contacts
Administration
& Membership Enquiries
PO Box 625, Loughton,
Essex IG10 3GZ United Kingdom
e: [email protected]
t: 0845 741 3626 (UK)
t: +44 (0) 20 8502 3817 (Int.)
Executive Administrator
Kevin Cook F.Inst.V.
t: 020 8502 3817
Membership Administrator
Ariane Nombro
t: 020 8502 3817
Executive Chairman
Ron Lee F.Inst.V.
13 Coleridge Avenue, Dentons Green, St
Helens, Lancashire WA10 6RN
t: 01744 29976
Treasurer
Steven Abrams F.Inst.V.
2 Ingledene Road,
Liverpool L18 3HJ
t: 0151 722 6692
Arbitration Officer
Ron Lee F.Inst.V.
13 Coleridge Avenue, Dentons Green, St
Helens, Lancashire WA10 6RN
Assessment Administrator
Chris Waterlow F.Inst.V.
59 Sissinghurst Close,
Pound Hill, Crawley
West Sussex RH10 7FY
t: 01293 886484
Institute of Videography Ltd
Executive Committee
Ron Lee F.Inst.V.
Mark Quinn
Janet Fenton
Phil Janvier M.M.Inst.V.
Published By:
IOV FOCUS Ltd
174 Roding Road, Loughton,
Essex IG10 3BS United Kingdom
t: +44 (0)20 8502 3817
Editor: Kevin Cook F.Inst.V.
FOCUS magazine contents, and its logo,
and the Institute Logo, are copyright of
the Institute of Videography Ltd.
While we make every effort to ensure
accuracy, we cannot take responsibility
for losses resulting from publishing errors
of any kind, howsoever caused.
ProVideo 2010, ProVideo 2011,
ProVideo 2012 and ProVideo 2013
are trading names for
IOV Focus Ltd
The writing is on the wall ‘Media is Merging’. Perhaps I
should have said, “The writing is
on the media tablet” as that’s
really the world that we might all
heading towards. That’s the way
technology pushers would like us
to be thinking anyway!
The launch of the i-Pad has
left me in a bit of a confused
state. Are we really heading
towards a paper-less, screencarrying world? Will trains be
packed with people glued to their
media tablets - and will the
same devices be adorning
coffee tables, dentist, doctors
and office receptions across
the globe? If all the media
hype is anything to go by then
we probably will.
So far I’ve managed to
avoid getting sucked into the
smart phone and media tablet
world. However, I do see the
smart phone market as being
quite different and so far its been
easy for me to avoid as in my
mind a phone is a phone - well
almost! I’ve never felt
disadvantaged when faced with
someone using their smart phone
to make and receive their calls.
Apart from a few entertaining
applications, there’s not much I
can’t do with my regular mobile.
Apart from texts and calls, the
only other thing I use on my
phone is the diary feature, alarm
calls and playing music.
The emergence of the media
tablet is quite different - and is
filling a hole where a hole didn’t
previously exist. Its not a phone
and its not a lap-top. From what
I can see its primarily a device
for consuming content that we
otherwise consumed elsewhere most notably content that’s
delivered to us through print.
And its not just a replacement for
books, magazines and
newspapers - its the start of
these and other mediums
merging into one, feature-rich,
content viewing device.
Of course, the i-Pad could go the
way of Apple’s i-Touch - which is
neither man nor beast - being
too small to be practical for
content viewing and too featureless to be much more than a
“cool” thing to pull out of your
pocket to show your friends that
you’ve got more money than
sense. Let’s face it, there’s
nothing you can do with the iPad that you are not going to be
able to do with your lap-top or
compact PC - other than look like
someone who has got £600 to
spend! Its far from being a onetrick pony, but what it does do it
seems to do pretty well.
As publishers we have to take
these question seriously. Are you
really going to be consuming
The Cook
Retort
your web,
newspaper, magazine
and TV content on
this kind of device? For me,
personally, that’s not going to
happen in the immediate future but I really don’t think Apple had
me in mind when it was being
developed.
What is obvious is that Apple
know that content is king.
You’ve only got to look at the
piles of money they make
from i-Tunes to see what
their ambition is for i-Pad
publishing of books,
magazines and newspapers.
They have their eyes on a cut
of that action, and the
publishers will love it too as it
will ultimately reduce their
production costs to a fraction
of what they are now. They
will also love the traceability
features of advertising and
embedded linking. If you
thought big brother was watching
you now - he ain’t seen nothing
yet!
Where does this leave the
videographer? Video will be the
cream-content on these devices.
Someone has got to create it,
and part of your future skill-set
will not only include knowing how
to create device-friendly video
content but you will also need to
know how to wrap it together
with text, images, websites and
other media assets into one
media-tablet experience. If
broadening your skills this far
sounds like too much of a
challenge then I’ve no doubt that
those from the other merging
industries (rightly or wrongly)
will see squirting off a bit of
video to be no challenge at all.
I think you’ve got about 3years to get yourself up to
speed.
Kevin Cook
This Month
FEATURES
12
Video Business Start-up
16
Weighing up the Canon XF305
Part 7 - Marketing Pillars - 3
A review by Kevin Cook and Graham Bernard
19
Sound Forge Pro 10
A review by Phil Janvier
REGULAR ITEMS
5
8
9
24
25
26
IOV News
Area News
Trade Directory
The List
And Another Thing
Classified Ads
IOV and Industry News
A round-up of local IOV Meetings
Subscribing Manufacturers & Suppliers
The Register of Qualified Members
Stuart Little’s satirical column
Sales & Wants / Products & Services
www.iov.com
Focus Magazine
July 2010
3
Industry News
IOV News
Industry, Technology & Regional News
ProVideo 2010
Keynote Seminars & Presentations
With preparations for
ProVideo 2010 now well
underway, the IOV is pleased
to announce the preliminary
seminar and presentation
schedule for its main theatres
being held in the Jaguar Suite
at the Ricoh Arena.
The full line-up of
presentations will be updated on
the IOV website in the months
leading up to ProVideo 2010, and
will include information and
timings on the additional
presentations taking place on the
exhibition floor theatres dotted
throughout the show - along with
information on presentations
being made by exhibitors on
their stands.
‘Better Encoding’
Workshops
With the initial call to exhibitors
having now been sent out, the
IOV is also pleased to report that
it is expecting a much bigger
range of exhibiting companies
than in previous years - and has
already taken bookings from
companies who are new to the
event, including Canon, Adobe
and Manfrotto Distribution - as
well as companies who are
returning to the event after a
number of year’s absence.
Online registration for
ProVideo 2010 will be opening
this month (www.iov.com/
provideo). This section of the
website will also include
information on opening times,
travel, where to stay, the IOV
Awards and the latest exhibitor
list. For further information
please contact Kevin Cook on the
details below
The IOV is pleased to announce
two more dates and venues for
its new range of short evening
session VideoSkills workshops.
This information-packed, 2hour workshop is delivered by
VideoSkills presenter, Martin Kay
and is entitled 'Better
Encoding'. It has been
developed for those who are
looking to gain a working
knowledge of how to encode
video and media files efficiently
for digital delivery.
Kevin Cook
[email protected]
13th & 14th October
Ricoh Arena, Coventry
Please note, the seminar and presentation schedule may change without
notice. Please visit www.iov.com/provideo for the latest details
Seminar Theatre 1 - 13th October
10:30 to 11:30
‘The Future of Radio Microphones for Videographers’ - By Alan March
11:45 to 12:45
‘How to make a “Trash the Dress” film’ - By Clive Jackson
13:00 to 14:00
‘Shooting weddings with DSLR's’ - By Mike Cottrill & Rich Daly
14:15 to 15:15
‘Become a Wedding Cinematographer’ - By Richard Wakefield & Pete James
15:30 to 16:30
‘Wedding Films - Where do we go from here!’ - By John De Rienzo
West Country
Date: Tuesday 6th July 2010
Time: 19:00 till 21:30
Subject: Better Encoding
Venue: The Kings Head, 33-35
High Street, Cullompton, Devon
EX15 1AF
11:45 to 12:45
‘3D Animation in DVD motion menus’ - By Paul Walker
13:00 to 14:00
‘Underwater Filming - What do I need to know?’ - By Bryan Stanislas
14:15 to 15:15
‘Filmatography Fusion’ - By Peter Rear
15:30 to 16:30
‘The difference your sound makes’ - By Niels Puttemans
North East
Date: Tuesday 27th July 2010
Time: 19:00 till 21:30
Subject: Better Encoding
Venue: Angel View Inn, Low
Eighton, Gateshead, Tyne &
Wear NE9 7UB
10:45 to 11:45
‘Wedding Films - Where do we go from here!’ - By John De Rienzo
12:00 to 13:00
‘Become a Wedding Cinematographer’ - By Richard Wakefield & Pete James
13:30 to 14:30
‘Shooting weddings with DSLR's’ - By Mike Cottrill & Rich Daly
14:45 to 15:45
‘How to make a “Trash the Dress” film’ - By Clive Jackson
These events will be held in
conjunction with regional IOV
events and will travel round the
IOV in the coming months. The
range of subject will be
expanded, but the initial "hot
topic" of 'Better Encoding' is high
on the agenda for all professional
videographers.
As with all VideoSkills
workshops, every delegate will
receive a certificate of
attendance. Members benefit
from substantial discounts on
these workshops and are able to
book their non-member
colleagues on at the discounted
rate of £20 per person.
For further information, and
to book your place online, please
visit www.iov.com/videoskills.
10:45 to 11:45
‘The difference your sound makes’ - By Niels Puttemans
12:00 to 13:00
‘Filmatography Fusion’ - By Peter Rear
13:30 to 14:30
‘Underwater Filming - What do I need to know?’ - By Bryan Stanislas
14:45 to 15:45
‘3D Animation in DVD motion menus’ - By Paul Walker
New IOV Academy Directory
With the pilot scheme for
Academy Membership now
underway, the IOV has
published a list of IOVaccredited training and
educational organisations on its
website - www.iov.com/
academy.
Academy Membership of the
IOV is aimed at state schools,
colleges and universities, as well
as private training organisations
and one-to-one trainers, who
offer courses in videography
which comply with the
VideoSkills syllabus.
Phil Janvier, IOV Academy
Membership Project Manager
added, "We are pleased with the
interest in the pilot scheme so
far, which has attracted
enquiries from some of the
leading training centres in the
UK and Ireland. So far two
organisations have completed
the application process, with a
further nine centres in various
stages of completion".
The IOV will consider
applications to the pilot scheme
from educational centres/
providers who would be in a
position to help the IOV develop
the features and benefits of this
level of membership before it is
launched commercially at the
beginning of 2011. If you would
like to be considered for
inclusion in this scheme, please
email Phil Janvier directly
([email protected]) and
include a brief outline on the
training/education services you
provide.
An outline of the features
and benefits of Academy
Membership is attached to the
bottom of Academy Directory
online.
Phil Janvier
Academy Project Manager
www.iov.com
Kevin Cook
[email protected]
Focus Magazine
July 2010
5
Industry News
Assessment Results - June 2010
DSLR Support from Sachtler
The assessment panel met on
9th June 2010 when the
following awards were made:
Sachtler has recently announced
the launch of the artemis DV
camera stabilizer system aimed
specifically for DV and DSLR
users. Weighing just one
kilogram (2.2 lbs) - the unit
enables easy single-handed use
and fluid camera work.
Because the bow segments are
machined out of one part, the
artemis DV guarantees
outstanding stability, torsional
strength and prevents vibration
during the shoot. The handgrip,
monitor mount and counter
weights can be individually
positioned to match the camera.
The artemis bow features
innovative “dynamic balance”
technology, thus enabling fine
counterbalance adjustment. Any
popular TTF monitor can be
attached to the monitor mount,
which can be freely positioned,
thus enabling further shooting
control. The artemis DV camera
plate is compatible with Sachtler
FSB fluid heads, ensuring fast
change over from the tripod to
artemis DV.
Master Membership:
Gerry Lewis M.M.Inst.V.
Fellowship Recommendation
(Woking, Surrey)
Alan McCormick M.M.Inst.V.
(Chatham, Kent)
Mike Dutton M.M.Inst.V.
(Truro, Cornwall)
A big congratulations to them
all. The last few weeks have
been even more busy than
usual. In the space of a
fortnight, and in addition to my
regular IOV duties, I have
travelled to Leeds, Botley
(Hampshire), and Caddington
(Bedfordshire), to deliver
presentations on the IOV
assessment process to three
local Area meetings. I was
given a very warm reception at
each and every one, and I would
like to take this opportunity to
say a big ‘thank you’ to the
respective Area Reps and their
local members for being so
welcoming.
From the feedback I got at the
time, and reading the
subsequent meeting reports and
postings on the forum, these
presentations were well received
and allayed a large number of
the fears that members clearly
have about assessment. I was
regarded with some fear and
trepidation when I presented
myself at the various venues,
and members were unsure quite
what to make of me; I seem to
have gained a somewhat ‘scary’
reputation within the
organisation. However, I would
like to think that this was
speedily dispelled when it was
seen that I did not, in fact, have
two heads and was breathing
fire! Some members even had
the courage to bring along some
work for me to ‘assess’ on the
spot, and I think that those
members were genuinely
surprised at how painless the
ordeal was.
A number of urban myths
were dispelled and there was a
general feeling of relief amongst
all who attended; some even
vowed that they were inspired
to submit applications as soon
as they had something suitable
to send in.
6
July 2010
The cut-off date for the IOV
Awards was announced recently,
and the relevant article in last
month’s ‘Focus’ magazine made
it very clear what would happen
if entries were received after
that date. The same is also true
of the cut-off dates for
assessment. Please do not post
work actually on the cut-off date
itself as it clearly will not arrive
in time. Also bear in mind that
sometimes Bank Holidays might
be involved, meaning that, if
posted too close to the deadline,
the application may not arrive
until it’s too late.
Sending emails to warn of
impending application arrivals
are not going to be worth
anything if the package arrives
after the due date. As Kevin
Cook stated in the recent article,
you have plenty of warning.
The assessments take place four
times a year – in March, June,
September and December, with
the cut-off date for each one
being the final day of the
preceding month. If this means
that day is a Sunday or Bank
Holiday or any other day when
the Post Office are not normally
going to deliver mail, then make
sure your application arrives in
good time prior to that. It may
sound harsh, but ‘rules is rules’.
With the IOV Awards you have
to wait another year until you
can submit something, at least
with assessments the wait is
only three months!
With that in mind, the final
cut-off date for the next
assessment meeting is 31
August 2010. The day before
this is the August Bank Holiday,
so please bear this in mind when
you post your application as,
due to the Bank Holiday build up
in post, it might not arrive in
time. But then I don’t really
need to tell you that, do I?!
Focus Magazine
Assessment Administrator
[email protected]
www.iov.com
The artemis DV compactly
transports in a convenient case
which includes a stand and
counter balance weights.
For more information visit the artimis
dedicated website - www.artemishd.com
Festival Headache
Headache is the title of an
amusing short film written by
Tracy Canavan-Smith. The
original story idea came from
film-makers Anne Misselbrook
and Tim Lewis, who are both IOV
members. Anne produced,
directed and edited this film, and
Tim was the Director of
Photography.
Tim and Anne knew that the
creative visual interpretation of
the strong script, and the
convincing performance of actors
Tracy Canavan-Smith, Maxine
Tocco and Guiseppe Tocco, would
result in a quality production.
The film has been selected for
screening at the Leith Short Film
Festival, in Edinburgh on the
evening of Thursday 10th June
2010.
The film ‘Headache’ is just one
of many short films Tim and
Anne have worked on together.
The two filmmakers have been
collaborating on short film
productions since 2007. Prior to
this, both Anne and Tim were
making their own productions.
More information on the work of Anne
and Tim can be found on their website
- www.anothershortfilm.co.uk.
Details on the Leith Short Film
Festival can be found at
www.leithshortfilms.co.uk/
film_programme.php
Newly-accredited Associate Members
The following list of members have passed their
Associate Member exam and are now able to use
the IOV logo in their marketing material. They
have also been set up with a web page which must
be linked to when the IOV logo is placed on their
website. Full details of the benefits of Associate
Membership can be found at www.iov.com/join
Dave Marris A.M.Inst.V.
York, North Yorkshire
Owen Maher A.M.Inst.V.
Preston, Lancashire
Jan Gould A.M.Inst.V.
Harpenden, Hertfordshire
Gary Greenwood A.M.Inst.V.
Mansfield, Nottonghamshire
Mark Ballantyne A.M.Inst.V.
Maids Moreton, Buckinghamshire
Please note: Newly accredited Associate Members are published in Focus each
month and will be accurate at time of publication.
Industry News
IDX brings us the new Easy Steady range
IDX has announced that they
have been appointed as the
exclusive UK & ROI distributor for
Easy Steady, a new line of
professional body stabilisation
systems for DSLR, video and
broadcast cameras.
There are three versatile
systems as part of the Lite & Go
range from which to
choose; the ONE, TOO and
FREE. Each system is
designed to provide superb
balance, stability and
complete fluidity of
movement for cameras
ranging from up to 4.5Kg
and 8.5Kg in weight.
The Lite & Go kits come
equipped with a
lightweight body vest as
standard. The vest is
made from Cordura fabric
to increase durability and
comfort and is intelligently
designed to distribute weight
evenly throughout the operator’s
lower body and waist. Because
of this, the vest shoulder straps
can be released to ease tension
while the system remains fully
operational. The aluminium
chest plate, when connecting the
arm to the vest, can be
configured to a right or left
handed position depending on
the preference of the operator.
The stabilisation arm is
constructed from aluminium alloy
and is standard across the range,
using heavy or light tension
springs depending on the weight
of the camera in use.
The Lite & Go sled boasts a
telescopic centre post that
extends between 650mm and
1350mm, allowing the sled to be
used in high or low position
shooting applications. The super
fluid gimbal has no friction
whatsoever to allow smooth and
stable rotation in any direction.
A 7” LCD monitor is supplied as
standard on all three kits, with a
single V-Mount battery plate for
Pana at Pinewood
sled ONE or a double V-Mount
battery plate for sled TOO and
FREE. With V-Mount batteries
connected, power can be
provided to cameras with a
suitable input terminal or third
party video monitors. The
adjustable monitor and battery
mounts enable fine tune
balancing. Each Lite & Go sled
carries a universal plate for
camera attachment and is HDSDI video compatible.
All three Lite & Go Kits are
delivered in a rugged transport
case including wheels
together with C-Stand to
allow stable docking and
balancing of the sled when
loaded with camera and
accessories. Easy Steady is
supported by a dedicated line
of accessories including a tripod
adaptor for fast camera mountdismount to tripod, D-Bracket for
extreme low mode shooting,
carbon fibre low mode cage,
precision balancing donut
weights and camera plates with
15mm rods for attaching third
party accessories.
For further details are available from
IDX Technology Europe - see Tripods
& Camera Supports in the Trade
Directory on page 11.
Panasonic AVSE has recently
opened a Broadcast Experience
Centre at the famous Pinewood
Studios in a purpose-built facility
for visitors wishing to see and,
most importantly, get hands on
with Panasonic’s latest kit.
Not only will visitors to the centre
be able to experience and try for
themselves the very latest 2D
and 3D cameras, monitors and
mixers - but they will also be
able to speak and exchange
ideas and best practice with
expert technical staff.
The centre also has a huge
range of third-party solutions
from the companies like Adobe,
Apple, Avid, Quantum, Rimage,
HP, Object Matrix and many
more.
For more details please contact the
Panasonic Broadcast team on
[email protected]
Industry News
Area IOV News
film shorts for assessment
contained in the download.
Both current A.M’s and M.M’s
By Bryan
found this presentation very
Stanislas
helpful, and has inspired some
Firstly I would
amongst us to submit initial
like to take this
pieces and others to submit
opportunity to
further pieces hoping to gain
thank Chris
fellowship qualifications. (please
Waterlow F.Inst.V. for speaking
see the report on the Area 13
on the assessment process at our noticeboard for additional
latest Area 13 meeting held at
guidance on your submission)
Botley Fire Station. Fantastic!
The biggest thing that came
Chris presented an hour or so on out of the evening for me was –
the do and don’ts of submitting a do not re-jig an already existing
piece of work for assessment and piece of work to fit. Go back to
in the process dispelled all the
the original rushes and edit a
myths which are associated with
piece specific to fit the
the judging process. His clear
assessment criteria! Use the
and concise directions simply
guidelines as a form of shot list/
echoed the current submission
script for what needs to be
guidelines which are readily
included. If possible shoot for the
available to all those who submit assessment. I will be creating
Find out about IOV
Meetings in your Area...
Dorset,
Wiltshire &
Hampshire
North & West
Yorkshire
and making available to those
who wish to use it, a tick check
sheet so that the submission
piece meets the guidelines.
If you follow the guidelines to
the letter and can tell a story
with flow and pace you will pass.
I can only say that those
ordinary members, A.Ms and
M.Ms who were unable to attend
missed a great opportunity. Once
again many thanks to Chris for a
truly great evening, it was
appreciated.
Chris then went on to
describe the Assessment process
By Roger
which included some video clips
Staniland
and, of course, covered the do
Eleven members
and don’t of the whole process.
and one guest
The main points which I believe
turn up to see
came out of the talk was that
Chris Waterlow
you should be making the 15outline the IOV
mins submission video for the
Assessment Process.
assessment panel; they are your
Chris began by giving a brief
client in this case. The
background of his work in video.
submission should have all the
He has been involved in
basic camera, lighting and post
broadcast television and video
production skills on show and, of
production since 1986, and
course as with all video
during that time has worked on
production, it must tell a story to
many varied projects for
the Client. Therefore if you have
broadcast, the internet, general
a wedding you would like to
public and corporate video
submit, the word is, re-edit it for
consumption and for his own
your new Client, the panel, into a
pleasure. He is a full member of
film which tells the story of the
the Guild of Television
day in question. Do not take
Cameramen and a Fellow of the
chunks out of the video
IOV. He works as a Broadcast
completed for your original
Client; this will not flow as a full
Lighting Cameraman for the
story.
television channel, QVC, which
The other points were to
involves him in both studio work
and the filming promotional video ensure you could show that you
all over the world. His knowledge could handle the
camera, manually, no auto
of the subject is therefore quite
settings, lighting and in post
extensive.
production having an artistic
view of the finished product.
Remember that on receiving your
award of Master Member of the
IOV, you can and will be
recommended by the IOV for
work with other companies.
Then the moment of truth
came, had anyone brought in
some work to view?
Yes, two members had and
both were viewed. The first being
a brief overview of the town of
Guisburn, with some stunning
water shots and excellent slo-mo
views which Chris suggested
would be a contender for a
Master Member award with some
subtle changes. The second
filmed 16 years ago was a
holiday video of the Niagara
Falls. Chris suggested that with
some tight editing to about 2mins in length this could be
made into a memorable movie.
This was an extremely
interesting evening and many
thanks must go to Chris for
driving up North to talk to the
local membership. I believe it
was appreciated by all.
East Anglia &
A1 Corridor
up and presented an informal
piece on miniature cameras –
namely cameras located in
unusual things such as key fobs,
sunglasses and model
aeroplanes. It was surprising to
note the quality that these
cameras could attain, and with a
lens of 1mm! Retrieval was
simple using just a USB
cable. George next showed off
some footage that he had
collected from his model
aeroplane. George is able to film
and see live the display from his
model aircraft as it takes off,
travels around the countryside
and returns. He views the
footage which was truly amazing
via a pair of special glasses.
Our meeting closed at 10pm.
By Bill Platts
This was the
first IOV
meeting held at
Peterborough
for a long time
having previous
met at Vinten’s
premises in Bury St
Edmunds. We were always sure
of a warm welcome there and I
must thank Peter for his past
hospitality.
With Malcolm retiring it is
back to me running the area
again. So, time for a change (for
the foreseeable future) and
meetings will now be held in
Peterborough at The Italian
8
July 2010
Community Centre (The Fleet) a large multi-function meeting
area. I think some of our
members wondered what they
had let themselves in for as one
of the rooms was holding a Latin
for beginners dance class!
May’s meeting was designed
to let members meet one
another and discuss over a mug
of tea the merits of the last IOV
awards. This is always a popular
discussion area and we often
differ on which one should have
won the overall category. I don’t
think we are any different from
any other area in that matter.
After viewing the Best
Wedding, Best Music video and
Best Film categories we had a
break. George Binns was next
Focus Magazine
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Chromakey Supplies
3D Graphics & Animation
Push Creativity
Lynwode Lodge, Walesby Road, Market Rasen,
Lincolnshire LN8 3EY
Tel: 01673 843852
Email: [email protected]
Web: www.push.uk.net
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Tel: 01527 861911
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Unit 3, Sutherland Court, Tolpits Lane,
Watford WD18 9SP
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Calumet Pro Video (Cambo distributor)
93-103 Drummond Street, London NW1 2HJ
Tel: 08706 030303 (option 4)
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Rycote Microphone Windshields Ltd
Libbys Drive, Slad Road, Stroud,
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3 Century Point, Halifax Road, High Wycombe,
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Soundkit
12 Earle Place, Canton,
Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Web: www.soundkit.co.uk
Authoring Video To DVD
Authoring Services & RocketDVD
Unit 4, Balksbury Estate, Upper Clatford,
Andover, Hampshire SP11 7LW
Tel: 01264 336330
Web: www.replication.com
Commemorative Video & DVD Cases
Batteries & Power
DS Video Facilities
Unit 27, Metro Centre, Britannia Way,
Coronation Road, London NW10 7PR
Tel: 020 8965 8060
Tel: 0141 300 3404 (Glasgow office)
Web: www.dsvideo.co.uk
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Tel: 01753 593724
Fax: 01753 595104
PAG
565 Kingston Road, Raynes Park,
London SW20 8SA
Tel: 020 8543 3131
Web: www.paguk.com
Photon Beard Ltd
Unit K3, Cherry Court Way, Stanbridge Road,
Leighton Buzzard, Bedfordshire LU7 4UH
Tel: 01525 850911
Web: www.photonbeard.com
Camera Lenses & Filters
Calumet Pro Video (Formatt Filters)
Tel: 08706 030303 (option 4)
IDX Technology Europe (Century Optics)
Berkshire SL3 6EZ
Tel: 01753 593724
Fax: 01753 595104
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Manfrotto Distribution
(formerly Bogen Imaging)
Unit 4, The Enterprise Centre, Kelvin Lane,
Crawley, West Sussex RH10 9PE
Tel: 01293 583300
Fax: 01293 583301
Web: www.manfrottodistribution.co.uk
Berkshire SL3 6EZ
Tel: 01753 593724
Fax: 01753 595104
Karina Krafts
Complex 7, 34 Nelson Road, Ystrad Mynach,
Hengoed, Mid Glamorgan CF82 7BP
Tel: 01443 815595
Fax: 01443 862204
Web: www.karinakrafts.com
Tel: 01527 861911
Warehouse Video Services
Burnside, Horton Road, Staines, Middx. TW19 6BQ
Tel: 01753 689400
Fax: 01753 689401
Web: www.warehouse-video.co.uk
Computer Software & Hardware
LCC Photon Technik
Watt House, Pirbright Road, Normandy,
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Web: www.lcc-lighting.co.uk
Photon Beard Ltd
Tel: 01525 850911
Dolly & Track Systems
Calumet Pro Video (Cambo distributor)
Tel: 08706 030303 (option 4)
PEC Video Ltd
65-66 Dean Street, Soho,
London W1D 4PL
Tel: 020 7437 4633
Fax: 020 7025 1320
Web: www.pec.co.uk
AV3 Software
Suite 51 Basepoint Business & Innovation Centre,
Caxton Close, Andover, Hampshire SP10 3FG
Tel: 01264 326312 / 3
Web: www.av3software.com
Tel: 01527 861911
Drapes
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Duplication Services
Copyright Free & Commissioned Music
AKM Music
PO Box 3199, Kenilworth CV8 2ZP
Tel: 01926 864068
Web: www.akmmusic.co.uk
Chris Worth Productions
7 Blanchard Road, Louth, Lincs. LN11 8YH
Tel: 01507 601546
Fax: 01507 601546
Web: www.chrisworthproductions.com
Trackline Music Services
68 Alton Street, Crewe, Cheshire CW2 7QB
Tel: 01270 665750
Web: www.trackline.com
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Copytrax Technologies UK Ltd
35 Dry Drayton Industries, Scotland Road, Dry
Drayton, Cambridge CB23 8AT
Tel: +44 (0) 844 8156225
Web: www. copytrax.com
Multi Media Replication Ltd
Tel: 01264 336330
Tel: 01527 861911
Focus Magazine
July 2010
09
DVD & CD Applications
Tel: 01527 861911
DVD & CD Replication Services
Intelligent Television and Video Ltd
ITVV House, Norwood Street, Scarborough,
North Yorkshire YO12 7EQ
Tel: 0800 137423
Fax: 0800 0265050
Web: www.itvv.net
Tel: 01264 336330
Tel: 01527 861911
DVD Duplication Equipment
Copytrax Technologies UK Ltd
35 Dry Drayton Industries, Scotland Road, Dry
Drayton, Cambridge CB23 8AT
Tel: +44 (0) 844 8156225
Web: www. copytrax.com
Tel: 01264 336330
Edinburgh Store
3 Bonnington Business Centre, Tennant Street,
Leith EH6 5HG
Tel: 0131 553 9979
Belfast Store
Boucher Plaza Unit 2, 4-6 Boucher Road,
Belfast BT12 6HR
Tel: 02890 777770
Camerakit UK
Unit 5, ABS Business Park, Viaduct Street,
Stanningley, Leeds LS28 6AU
Tel: 01132 573005
Email : [email protected]
Web: www.camerakit.tv
D + P Multimedia Products Ltd
Unit 1, Terenure Business Park, Beechlawn
Way, Terenure Village, Dublin 6W
Tel: +353 1 4924374
Fax: +353 1 4924372
Email : [email protected]
Web: www.camerakit.ie
Holdan Ltd
Unit 2 Waterside Business Park, Waterside,
Hadfield, Glossop, Derbyshire SK13 1BE
Tel: 0845 1304445
Web: www.holdan.co.uk
LEQ Ltd (Lightweight Equipment)
Beech House, 62 York Road, Sutton,
Surrey SM26HJ
Tel: +44 (0) 20 8770 7790
PEC Video Ltd
65-66 Dean Street, Soho, London W1D 4PL
Tel: 020 7437 4633
Fax: 020 7025 1320
Web: www.pec.co.uk
Hireacamera.com
Unit 5 Wellbrook Farm, Berkley Road, Mayfield,
East Sussex TN20 6EH
Tel: 01435 873028
Fax: 01435 874841
Web: www.hireacamera.com
Kitroom Monkey Limited
Ealing Film Studios, Ealing Green,
London W5 5EP
Tel: 0845 166 2597
Mobile: 07739 806807
Web: www.kitroommonkey.co.uk
Equipment Service & Repair
Calumet Pro Video
Tel: 08706 030303 (option 4)
Thear Technology Limited
TTL House, Sheeptick End, nr Lidlington,
Bedfordshire MK43 0SF
Tel: 01525 841999
Fax: 01525 841009
Web: www.theartechnology.co.uk
Grip Equipment
Ianiro UK Ltd
Unit 19, Walkers Road, Manorside Industrial
Estate, Redditch, Worcestershire B98 9HE
Tel: 01527 596955
Fax: 01527 596788
Web: www.ianirodirect.com
Production Gear Ltd
Millennium Studios, Elstree Way,
Borehamwood, Hertfordshire WD6 1SF
Tel: 020 8236 1212
Web: www.productiongear.co.uk
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Insurance Companies
Tel: 01527 861911
Equipment Dealers
Calumet Pro Video
London Store
Tel: 08706 030303 (option 4)
Manchester Store
Unit 4, Downing Street Industrial Estate,
Charlton Place, Manchester M12 6HH
Tel: 0161 274 4455
10
July 2010
Top Teks Ltd
Bridge House, Royal Quay, Park Lane,
Harefield, Middlesex UB9 6JA
Tel: 01895 855655
Fax: 01895 822232
Web: www.top-teks.co.uk
WTS Broadcast Limited
Media Park, 40b River Road,
Barking, Essex IG11 0DW
Tel: +44(0) 208 594 3336
Fax: +44(0) 208 594 1552
Web: www.wtsbroadcast.com
Aaduki Multimedia Insurance
Bridge House, Okehampton,
Devon EX20 1DL
Tel: 0845 838 6933
Fax: 0845 838 6933
Web: www.aaduki.com
Photo-Shield Winsover Howden
Unit 7a, Winsover Centre, Winsover Road,
Spalding, Lincolnshire PE11 1EJ
Tel: 01775 716690
Web: www.winsoverhowden.com
Equipment Rental
Calumet Pro Video
Tel: 08706 030303 (option 2)
Focus Magazine
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ARRI (GB) Limited
2 High Bridge, Oxford Road, Uxbridge,
Middlesex UB8 1LX
Tel: 01895 457000
Web: www.arri.com
Cirro Lite (Europe) Ltd
3 Barretts Green Road, London NW10 7AE
Tel: 020 8955 6700
Web: www.cirrolite.com
Ianiro UK Ltd
Tel: 01527 596955
Fax: 01527 596788
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Photon Beard Ltd
Tel: 01525 850911
Nonlinear & Hybrid Systems
Infinity Curves for Virtual Sets
Proactive UK Ltd
1 Eastman Way, Hemel Hempsted HP2 7DU
Tel: 01442 253313
Fax: 01442 260913
Web: www.proav.co.uk
Lighting
Towergate Camerasure
Funtley Court, Funtley Hill, Fareham,
Hampshire PO16 7UY
Tel: 0870 4115511
Web: www.towergateunderwriting.co.uk
David Vincent Clarke Ltd
3-4 Westbourne Grove, Hove,
East Sussex BN3 5PJ
Tel: 01273 205700
Fax: 01273 917099
Web: www.dvc.uk.com
Hybrid Media Solutions
7 Packwood Drive, Birmingham B43 6BD
Tel: 0121 288 4806
Mobile: 07949 265049
Web: www.hybridmedia.co.uk
Planet Video Systems
Pinewood Studios, Pinewood Road, Iver Heath,
Buckinghamshire SL0 0NH
Tel: 020 8950 1485
Web: www.planetaudiosystems.co.uk
Roland UK Ltd
Atlantic Close
Swansea SA7 9FJ
Tel: 01792 702701
Web: www.rolandsg.co.uk
ZEN Computer Services
3 Carolina Way, Salford Quays,
Manchester M50 2ZY
Tel: 0161 736 5300
Fax: 0161 736 5303
Web: www.zenvideo.co.uk
Radio Microphones
Sennheiser UK Ltd
3 Century Point, Halifax Road, High Wycombe,
Buckinghamshire HP12 3SL
Tel: 01494 551551
Fax: 01494 551550
Web: www.sennheiser.co.uk
Soundkit
12 Earle Place, Canton, Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Web: www.soundkit.co.uk
Recordable Media - CD / DVD / Tape
APR Media
Media House, Unit 18 Rylands Industrial Estate,
Bagley Road, Wellington, Somerset TA21 9PZ
Tel: 01823 669166
Web: www.aprmedia.com
Tel: 01264 336330
Ianiro UK (Libec)
Tel: 01527 596955
Fax: 01527 596788
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Keene Electronics
Old Hall, Unit 9, Mills Bus. Pk, Station Road,
Little Eaton, Derby DE21 5DN
Tel: 01332 830550
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Video Manufacturers
Tel: 01527 861911
Canon UK Ltd
Woodhatch, Reigate, Surrey RH2 8BF
Tel: 01737 220 000
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Studio Lighting Design
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
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Photon Beard Ltd
Tel: 01525 850911
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Autocue Group
Unit 3, Puma Trade Park, 145 Morden Road,
Mitcham, Surrey CR4 4DG
Tel: +44 (0)20 8665 2992
Fax: +44 (0)20 8687 4869
Web: www.autocue-qtv.com
JVC Professional Europe
JVC House, JVC Business Park, 12 Priestley
Way, London NW2 7BA
Tel: 020 8208 6200
Web: www.jvcpro.co.uk
Panasonic Business Systems
Panasonic House, Willoughby Road, Bracknell,
Berkshire RG12 8FP
Tel: 01344 853855
Fax: 01344 853847
Web: www.panasonic-broadcast.com
Sony Broadcast & Professional UK
The Heights, Brooklands, Weybridge,
Surrey KT13 0XW
Tel: 01932 816275
Web: www.sonybiz.net
TV One Limited
Unit V, Continental Approach, Westwood
Industrial Estate, Margate, Kent CT9 4JG
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Focus Magazine
July 2010
11
I’m rounding off the
marketing pillars section of
this series this month with
four more activities for you to
explore. I’ve had a fair bit of
feedback on this series so far
and hope that this final
instalment fills in the gaps.
Having said this, marketing is
not something that is set in
stone. The effectiveness of
activities will change from
time to time so what’s hot
this year might be old hat 12months down the line.
There will be new marketing
activities coming online that
we’ve never even thought about
before so you must be open
minded about the ways to reach
your market. And don’t be
surprised if more traditional
marketing activities, which have
fallen from favour, are
reinvented into the next ‘BIG’
thing.
Marketing Pillar 8
Customer Referrals
Without doubt the best kind of
business to get is that from
recommendation from a previous
client and this is intrinsically
linked to Marketing Pillar 1 set
out in the May issue. Regardless
of how good a product or service
you provide, or how cheap you
can provide it, if you do not get
the customer care part of your
business right you are unlikely to
get further work from referrals.
Getting the most out of
customer referrals goes well
beyond providing a great service
and a well priced product. There
are proactive activities you can
do to squeeze every last
opportunity out of your existing
and previous clients. For
instance, you might have sold
customer ‘A’ your wedding video
services but they are also quite
likely to be a customer for your
cine-to-video service. At some
point in the future customer ‘A’
might also want their wedding
transferred from DVD to the
latest media format. Even if they
are not in the market for your
services now they will almost
12
July 2010
certainly have someone within
their family or circle of friends
who is. Unless you keep in
contact with you past clients, and
regularly remind them about the
services you provide, there is
little chance that they will be
inspired to make further
purchases from you.
The most important tool to
enable you to market to previous
clients is an easy to use and up
to date contact database.
These opportunities expand
even further with corporate or
business-based clients. The
company who commissions you
to produce their promotional
video might not appreciate that
you can also provide duplication
services, standards transfers or
even camcorder hire for when
they carry out internal training
sessions. Previous clients, or
should I say satisfied clients, do
not have the major obstacle that
you’ll face with a new client –
and that’s trust. You’ve already
proved your trustworthiness and
there will be a level of loyalty
that you can tap into.
There would be nothing
wrong in offering incentives to
previous clients who recommend
Focus Magazine
www.iov.com
you. Something along the lines
of, ‘Introduce a wedding video
client to us before 1st Jan 2011
and receive a £50 Marks &
Spencer voucher’. A £50 fee for
getting a £1,000 job is not a bad
return on investment. You’ll
obviously need to qualify the
terms to limit your liability but
this kind of activity has great
potential as a cost effective
marketing tool.
Marketing Pillar 9
Competitions
Videography is a pretty
specialised so offering your
service as part of a competition
is going to attract only those who
can make use of your services.
This is the basis of all marketing
competitions, in that whilst you
will have to give away your
services (or heavily discount
them) to one lucky winner you
should gain by building a
database of potential customers
from the remaining entrants.
This kind of activity can be
used in conjunction with Pillar 5
(also published in the May issue)
where you can give a local
newspaper an exclusive
competition offer for their
readers in exchange for
publishing your press release or
simply news of the competition.
Likewise, it can be a great way to
gather data whilst you are at an
exhibition – ‘drop your business
card in our box and win a 5minute corporate video’. Only
those who are interested in
commissioning a corporate video
will enter (mostly!).
You can offer further
incentives to the unlucky
entrants when you tell them the
bad news, ‘Sorry, but on this
occasion you did not win the free
corporate video, but we are
happy to offer you 100 free
copies on any corporate video
you commission in the next 12months’. It’s also a good idea to
tell them who won, and use that
story to promote your services
further, ‘ABC Products were the
lucky winners, who have
commissioned a video that will
double their turnover in the next
12-months’.
Marketing Pillar 10
Promotional Video
This one is really a no-brainer! If
you are a video production
company then you really should
be using video to promote
yourself. This is especially true
for those involved in corporate
video as one day you’ll be put on
the spot by a client who you are
trying to sell a promotional video
commission to and they’ll ask, “If
video is so good at promoting
business, why haven’t you got
one?”
I’m not talking about a
showreel of previous work here –
I’m talking about a specific video
explaining the benefits of using
your company. I think in the
past 20-years I’ve seen no more
than a handful of video
production company promotional
videos. Now that’s either saying
that this idea would not work or
that videographers are generally
the worst example of the
‘Cobbler and his shoes’ scenario.
I happen to believe it’s the latter.
Either way, a good
Article
promotional video will help you in
a number of the other Marketing
Pillar activities. It’s now very
easy to include video on your
website and, let’s face it, a
videographer without video on
their website simply must be
missing a trick. They can also be
a great aid in making your
exhibition stand look interesting
and should help to pre-qualify
those that approach your stand.
With DVD replication so cheap
now there’s no reason why a
DVD could not be included or
indeed form the major part of
your direct mailing campaigns.
Marketing Pillar 11
You!
Finally, and most importantly, we
come to you. In most instances
videography is a one-man
business. People buy from
people so you need to invest in
your interpersonal skills and
make sure that you use these at
every opportunity. You must be
enthusiastic about the craft, your
clients and your business – and
don’t be shy of telling everyone
what you do and what you can
do for them.
As great marketing is all
about measurement, you need to
first look at activities you are
doing right now and start to
measure their success. Look at
your competition, see what they
are doing and copy the things
you like (there’s no original ideas
left you know!). However,
always consider differentiation
and how you can add an edge.
What is your USP (Unique Selling
Point)?
Sometimes differentiation is
simply about price and whilst
everyone wants value for money
that does not always equate to
paying the lowest price. Back in
the Nineteenth century,
passengers embarking on a slow
boat to China were offered more
expensive cabins on the cooler
side of the ship (supposedly so
because of the sun). These
tickets were sold as Port Out
Starboard Home – and hence the
word POSH! It wasn’t so much
that they got cooler cabins but
the knowledge that others would
know they paid more for their
tickets. This is a phenomenon
which continues today in the
form of which deck your cabin is
on a cruise liner.
Conclusion
Once you have made the key
decisions about Product, Place,
Price and Promotion you have
effectively developed a
marketing strategy. Your
Marketing Plan will simply consist
of writing down the activities
(Marketing Pillars) and stating
when you are going to do them.
You can’t expect to establish all
your marketing pillars in the first
week so don’t set yourself
unachievable targets.
Marketing Plans can cover
periods of 6-months to 5-years
and I would suggest that a
realistic timescale for a
videographer is 12-months.
Over this period of time you will
be able to gain an accurate
measurement of the overall plan.
However, you must review your
activities on a regular basis and
tweak them if they are not
working.
As a final comment about
marketing and promotion, you
can have all the enthusiasm and
great ideas in the world but
unless these gravitate into action
then all this good intention will
go to waste. Starting from
ground zero can be a daunting
task and the only way to manage
this successfully is to break down
each task into its component
parts. As they say, “every great
journey starts with a single
step”.
Next Month
Some marketing activities will be
nothing more than the latest fad
– but that doesn’t mean you
shouldn’t try them out. This is
especially true if your want your
business to be seen as cutting
edge or contemporary. If you
are a contemporary business,
aiming at a contemporary
clientele, using the latest
marketing platforms is going to
sit comfortably with your brand.
This leads me nicely on to
next month’s instalment where
I’m going to spend a bit more
time examining branding. I
often hear videographers talk
about video production as if it’s a
“one size fits all” kind of service
– as if they are all competing for
exactly the same type of
customer with the same type of
product. If only it were that
simple!
www.iov.com
Focus Magazine
July 2010
15
I always warn manufacturers
that I’m not the right man if
you are looking for someone
to produce a highly-technical
review on a camera. I don’t
put them on scopes and I
don’t measure their claims.
I’m saying this now just in
case you were expecting
some form of technical fact
sheet and test card
performance report on the
Canon XF305. You can
probably get that off the net
from a thousand sources by
now.
Techno guru I’m not, but I do
like to think I know a bit about
the expectations of those who
are going to be using the
technology, the features
(technical or otherwise) which
they will or will not like about a
camera, and what use its going
16
July 2010
to be put to. In other words the practicalities.
However, it’s been some time
since I played around with one of
Canon’s professional cameras. I
used to own an XL1 but I thought
it would be really useful to get an
existing Canon user’s view for
the review. Graham Bernard was
keen to oblige, and is a serious
contender to upgrade from his
existing Standard Definition XM2.
I’m sure he would be the first to
admit to not being a techno-head
either, but his views are probably
more important than mine as it’s
him that needs to be impressed.
XF305 – the 4:2:2
difference
With a street price tag of around
£6k plus VAT the market has
already started making
Focus Magazine
www.iov.com
comparisons between the XF305
and a range of offerings from
other manufacturers. I’m not
convinced this is fair as the only
valuable comparison is one
where you are comparing like for
like. Being the first solid-state
handheld camera capable of
1920x1080 Full HD camera
recording at 50Mbps (4:2:2), the
XF305 is not exactly like
anything else in its price bracket.
As its one of “the” headline
features of the camera, Graham
was keen to understand the
importance and relevance of
50Mbps (4:2:2). To give him a
non-technical answer, 50Mbps of
information is better than
35Mbps (achievable with
cameras like the Sony EX3 etc),
which is better than 25Mbps
(that offered by most other HDV
cameras). More data equals
more detail (potentially).
The next bit is about as
technical as I get – and I
apologise to the tech heads if
I’ve simplified this too much.
The higher data rate is
needed in order to achieve the
‘4:2:2’ part of this specification.
Our eyes are far less sensitive to
colour variations than they are to
variations in luminance, so
compression systems disregard
some of the pixel-by-pixel
changes in the colour recording
process in order to save on the
amount of data required to store
and display the image. This is
referred to as Chroma
Subsampling. For every forth
sample of data used to describe
the luminance variation, there
are two parts used to describe
the blue-difference and two parts
to describe the red-difference.
The other two common video
subsampling types are 4:1:1 (as
used in DVCPRO and NTSC DV
and DVCAM) and 4:2:0 (MPEG,
HDV, PAL DV and DVCAM,
AVCHD and AVC-Intra 50). As
you can see by the ratios there’s
a potential for quite a bit of
information to be discarded in
the recording process.
Whilst there are video
systems that use 4:4:4
uncompressed video (for
instance Sony’s HDCAM SR) the
loss in colour detail on 4:2:2 is
accepted as being unnoticeable
to the human eye. It is also
accepted as being the minimum
chroma subsampling method for
broadcast applications.
Both Graham and I grasped
what this means in practical
terms. Apart from being capable
of truer, cleaner pictures, 4:2:2
recording is much better for
chroma-keying than 4:2:0 and
4:1:1 quite simply because you
don’t have as much chroma
information to enable accurate
keying. Chroma-keying relies on
replacing one specific colour
value with another image so any
blurring at the edge of the
subject will result in an unclean
key. HDV, therefore, would not
be the best solution as a chromakeying format. Though you can
tweak this key in post
Review
production, it is far better to
start with material that gives you
more accurate colour
reproduction.
This so far this makes the
XF305, and the slightly cheaper
Canon XF300, unique. They are
self-contained compact cameras
capable of the same recording
process as cameras well above
their price tag. There are ways
to get other compact cameras to
record 4:2:2 but these will
require external recording
devices and the ability to output
the raw digital signal. Though
I’ve not had a look at it, the
XF300 only differs in that is
doesn’t offer the same HD-SDI
(uncompressed full HD with
embedded audio), Timecode,
Genlock connections which are
on the XF305.
The camera can also give you
a range of other recording
formats and frame rates – set
out in the inset box below.
There are also under-cranking
and over-cranking settings for
fast/slow motion (between 12 to
50fps) but we didn’t get to test
these out. However, I suspect
most people that end up owning
the XF305 will record at its
highest capability all the time.
The only thing that I can think of
that would stop you doing so is if
your NLE system doesn’t have
enough grunt to handle it. If this
is the case, at least you have the
other recording options that
require less processing power
and storage.
Recording Media
Like many of us in the market,
Graham is still working in the
tape domain but he knows that
his next investment is going to
be solid state, of one kind or
another. Whilst some
manufacturers have developed
their own propriety solid state
media and recording formats, the
XF305 records Material eXchange
Format (MXF) files on to
Compact Flash (CF) cards.
The camera has two CF slots
enabling continuous recording by
hot-swapping the cards. A 32GB
card will give you anything up to
80-minutes recording at 50Mbps,
and obviously more at lower bit
rates (I’ll leave you to do the
sums).
Again, in practical terms, this
means that the media is
relatively cheap and widely
available. You will need to use
UDMA 4 rated cards, capable of
up to 40MB/s or faster for Fast/
Slow recording features of the
XF305 – but the cheaper 30MB/s
cards will work if shooting
standard frame modes.
The adoption of MXF files
should mean that most, modern
NLEs, will accept the files quite
happily in their native format
without the need to go through
any conversion process. This is
where Graham’s and my
experience differed. To import
the files on to his Sony Vegas 9
NLE Graham had to use a 3rd
party toolset (UltimateS Pro) to
snappily get the MXF folders into
the Media Bin, allowing him to
separate-out the MXF files into
other “user-definable” bins from
the Project Media main Bin. From
here it was a simple case of
dragging the MXF files onto the
VegasPro 9e timeline. Editing and
post colour-grading and so on in
Vegas, on a 32-bit machine, with
2gb fast RAM was starting to
show its need for a faster setup
for this high rated MXF files. But
after a few repetitive previews he
was back up to speed – well,
25fps. He was happy with the
results and even more convinced
(like he needed it!) to go HD
something.
On my slightly ageing Edius 4
system the MXF files just
dropped straight on the timeline
and I was away.
Front End
OK, with all this going on at the
back end of the camera, you
need to know what’s going on at
the front end to make a
comparison with other cameras
in its price-bracket.
The XF305 employs three
1/3” type 2.07 Megapixel Full HD
CMOS sensors which have been
designed and manufactured by
Canon in-house. To help address
the much talked about “rollingshutter” problem associated
Canon XF305
Recording Formats
50Mbps CBR (4:2:2) - MPEG-2 422@HL
35Mbps VBR (4:2:0) - MPEG-2 MP@HL
25Mbps CBR (4:2:0) - MPEG-2 MP@H14
Resolutions & Frame Rates
50Mbps: 1920 x 1080/50i, 25p; 1280 x 720/50p, 25p;
35Mbps: 1920 x 1080/50i, 25p; 1280 x 720/50p, 25p;
25Mbps: 1440 x 1080/50i, 25p
www.iov.com
Focus Magazine
July 2010
17
Review
with CMOS sensors, Canon uses
a high-speed scanning system
which, apparently (though we
didn’t test it), helps reduce the
break-up effect that can be seen
when a CMOS camera is moved
very quickly. This is also the
cause of the half-picture effect
seen on CMOS cameras when
filming in situations where there
are a lot of camera flashes going
off.
The Canon L-Series HD lens
is fixed and non-interchangeable,
but provides an 18x zoom
ranging from 4.1mm at the wide
end to 73.8mm at full zoom.
This is equivalent to 29.3mm to
527.4mm on a 35mm lens scale.
The lens incorporates Canon’s
own Ultra-Low Dispersion (HiUD) elements which help prevent
chromatic aberration.
Back to the practicalities,
both Graham and I liked the
control and feel of the lens.
Three separate rings offer
independent control of focus,
zoom and iris (with an aperture
range of f1.6 to f22) with
mechanical end-stops so that you
know where you are when
making manual adjustments
(unlike the horrible infinitely
spinning variety).
With an 82mm filter diameter
the lens is chunky to say the
least – but I think we both found
it very easy to work with. In full
manual mode everything is
where you expect it to be. There
are also variations of manual/
auto that will appeal in situations
where you simply don’t have
time to manually get things right.
This includes the obligatory
‘everything auto don’t trust me
with a thing’ mode – which we all
find useful every now and again!
18
July 2010
In full manual focussing mode, a
simple press of the button found
on the top of the lens and then a
twist of the focus ring will engage
auto focussing mode. A little
window on the side of the lens
gives you a clear indication of
what mode the camera is in.
When in manual mode the
window contains a focal distance
meter and when in auto the
meter disappears. A quick button
press and twist puts you back in
control.
In auto mode the focussing
was extremely quick – as long as
the subject wasn’t a lot darker
than the surrounding picture.
We didn’t get to test it in low
light conditions, but its poor
performance on our highcontrasting test shots just proved
to me that, if you can, go
manual! There’s always the
another ‘Touch Focus’ button on
the side of the camera if you
need it.
Graham is very used to
working with a pan-arm lanc
controller so was keen to plug in
his Manfrotto 521Pro. This
worked in every respect except
the touch-focus button. We did
fool around for quite a while
trying to get this to work in the
various manual focus modes but
we failed. The zoom worked
smoothly at various speeds – and
Graham seemed particularly
impressed at just how slow the
lens could move.
Audio
There was nothing less than you
would expect to find on the audio
side of things – with XLR
connections and an easy-to-getto array of buttons to assign
inputs. Manual levels are
Focus Magazine
www.iov.com
adjusted with simple wheel-type
controls with the levels displayed
in the viewfinder and in an LCD
display on the side of the
camera.
The only challenge was
attaching an external mic in the
mic holder, which was far too
large for either Graham’s
Sennhieser ME66+K6 capsule
and my own Sony riffle mic.
Graham said he had to adapt his
own Canon camera in just the
same way, so I’m assuming
Canon do their own range of
special chunky mics which do fit
it properly. For the sake of a few
pence worth of rubber Canon
really should include an adaptor
so that videographers can use
the preferred mics.
Other key features
Both of us were impressed with
the viewfinder and pop-out
10.1cm LCD screen. It was in
fact one of Graham’s first
comparisons with his Canon XM2
when we first got the XF305 out
of its box. Like all LCDs, you will
find yourself switching to the
viewfinder in bright sunlight
conditions, but if you do you will
find the 1.3cm electronic
viewfinder very useable.
I’ve found focus-assist features
only reasonably useful in the
past. I’ve not really trusted
them as the resultant zoomed
centre portion of the image is too
low in resolution to be used as a
focussing tool. However, I think
the focus assist function on the
XF305 might have changed my
mind on this. The digitally
zoomed image was much sharper
than systems I’ve worked with
before and actually made manual
focussing easier. There are two,
handily placed, activation buttons
for this function – one right near
your main trigger button and the
other on the top handle (again –
near the other trigger button on
the handle).
For those that do like a scope
– the XF305 includes a built-in
waveform monitor and
vectorscope which gives you a
live graphical display of video
levels. This will be ideal for
those who want to make fine
adjustments to exposure and
verify video levels generally.
We didn’t delve into these in
any detail, but there are twenty
six custom picture options if you
want an instant look and feel
about your footage. These can
be tweaked, and once you have
Article
the perfect picture style you can
then save the set-up on the SD
card which slots in on the hand
grip. If you are on a multicamera shoot with other XF305s
you can then load these settings
in and get perfectly matched
pictures between the cameras.
This SD card drive is also used to
store still pictures – but again we
didn’t test this.
Conclusions from
“Graham”
This is definitely a good working
camera. I had a reassuring sense
it knows what to do, and has the
science to back up those type of
claims when it does it. Plus it
feels both good in the hand and
then held to the eye. I have tried
with the EX-3 and found it too
unbalanced for me.
That said, and on a purely
personal note, I really want,
wish, ache to upgrade from my
aging SD Canon XM2 to an HD
offering – and I was thinking
from Canon – I have their
batteries! Wishing to take
advantage of all that extra “def”
to work with, I have been waiting
patiently for my funds, editing kit
(a Quad-pc is now in place) and
Canon to allow me to have
something “other” than the
existing XH range that Canon
had come out with previously.
Liking the general pro feel of
the switches, any Canon handholders out there would not find
the layout too different at all.
However, in terms of the optics,
I’d like to be able to take
advantage of getting more
“reach” from the lens. I do enjoy
videoing from a distance wildlife
and getting my eye into
something way off – but this is
not possible with the XF range as
you can’t exchange lenses.
Added to which 2 points have
been shaved-off the reach, and
yes, of course it depends where
you start. Canon can supply a
wide angle adaptor, but as
previous incarnations of the XM
range had borne out, this does
not appear to include a tele
adaptor – real pity.
What I have divined from this
8-year period watching what
Canon will do next, it appears
they want to keep their XL
ranges for exchange lens
systems. It would appear the XF
range has defined the optical
reach options. OK, I recognise
that the 2-prong feature
www.iov.com
Focus Magazine
July 2010
19
Review
set of 50mb/sec and the 4:2:2
in-camera capture straight to
non-propriety Flash cards are the
come-and-get-me features – and
with this “offering” they most
certainly are leading the pack.
However, when would I actually
need these features? Will I get
better narrative from 4:2:2? I
guess, as part of my creativity
with colour grading in post – yes.
Cleaner chroma keying
opportunities - yes. And the
“price” is most likely designed for
that market. I am still scratching
my head to think how many IOVers would ditch their Sony EX3,
and their present 4:2:0 incamera capture Canon’s for this
4:2:2 in-camera recording
enabled camcorder? Maybe Sony
will have a 4:2:2-to-CARD
offering in the traps, ready to be
sprung upon us sometime soon.
And guess what, I’m betting that
that will have exchange lens
systems a-plenty.
So, weighing up the drive to
in-camera capture of 4:2:2
format, and what I’d use it for,
has given me pause. Will the XF
at last take me to the HD-ball? –
It’s a close call. But, as an
alternative, would the Sony Z7
HDV with exchange lenses but no
4:2:2 in-camera captures do it?
At present – maybe yes, and at
almost half the price I could
pony-up the money for a longer
lens system.
Way back, ironically, it was
my XM2 that originally showed
me the way forward with what a
3-CCD could do, at a price I
could then afford, and kept this
chap on-board with film making,
and Canon. It showed me that
content, spliced by the narrativeimperative, is King. Maybe the XF
is doing the same now for me as
the XM2 did then. After all, it’s all
a learning process. (Just wish
Canon had done further optical
reach opportunities)
20
July 2010
Is this a contender for my
money? I’ll wait and see what
Sony does next, or go with the
HDV Z7. Canon has almost lost
this Canon-acolyte. Though I
really doubt they’ll be shedding
any tears about that at all. Is this
a contender for others, who are
further down the future-proofing/
delivery-critical path than I?
Indubitably. And if so I definitely
would be making a trip to one of
the IOV camera-supplier partners
to get my hands on it to road
test.
Conclusions from
“Kevin”
There are some who were a little
confused by Canon launching a
new video camera in this sector,
bearing in mind the way their
DSLRs have encroached into the
world of video production. The
question is did they really need
to? I’m sure even the most
harden DSLR video user will
admit they are not always the
perfect tool for the job. In fact,
there are some filming tasks that
you would be crazy to use a
DSLR on.
Canon needed this camera as
much as DSLR users still need to
use a video camera for their
bread and butter camera work.
Whilst both Graham and I can
see a day when these two
technologies converge, we are
not there yet. More importantly,
with so many photographers
squirting off a bit of video on
their DSLRs, they are soon going
to find themselves needing a
proper video camera if they are
going to take it seriously.
There are things we both liked
about the camera, and a couple
which we didn’t. Even before we
got the camera out of the box
one of Graham’s first questions
was whether it has an integral
lens cap – and no, it doesn’t. It’s
Focus Magazine
www.iov.com
a simple thing – but it’s a right
pain in the rear if you, like me,
are the type of person who puts
things down in places that can’t
be remembered.
Maybe it’s a case of
unfamiliarity, but I wasn’t
instantly taken by the menu
system which had us both foxed
about changing the recording
formats and resolutions. It was
there all the time, but it didn’t
jump out at me or Graham so
maybe there’s something that
can be done with the menu’s
naming logic.
Everything else on the
camera seemed to be where it
should be. The build quality is
what you would expect for a
camera in this price bracket –
weighing around 3Kg with the
battery inserted. The pictures
were very clear and sharp, and I
even thought the 1.5x digital
zoom feature gave useable
results for those occasions where
you need to momentarily get upclose.
It’s not really relevant but
the review model left with us did
not come with an operating
manual. That’s obviously not
going to be the case with the
cameras on general release, but
it did mean that in the short time
we had to play with it there were
functions and settings that we
simply couldn’t explore. As
frustrating as this was, the good
news is we didn’t need it to start
shooting. Within moments of
switching it on we were creating
pictures - and once we accepted
having a wobbly microphone, we
were capturing sound. The basic
stuff, the stuff that’s really
important, was really easy to get
in to.
There is no doubt that the
XF305’s 4:2:2 capabilities will be
attractive to videographers who
want to squeeze every last drop
of detail from their camera. I’ve
also no doubt that it will address
some of the demands in the
broadcast sector but, I’m always
sceptical of claims that kit is in
anyway “broadcast standard” as
that depends on a whole set of
specifications and not just the
means of recording.
What you do get from the
XF305 is an easy to use, stateof-the-art video camera with
everything a seasoned
professional would need in the
way of control, output and
features. The pictures are lush,
and if it falls within your price
bracket then its certainly worth a
closer look.
Graham Bernard
Notes: Full details available
from the Canon website www.canon.co.uk
XF305 Dislikes
No integral lens cap for
a £7k camera, with a
fixed lens?
Over-sized mic holder.
Lanc Push-focus not
activated on the
Manfrotto 541 Pro
tested.
XF305 Likes
Big LCD panel that
traverse left and right of
camera
f1.6 lens performance
Gain adjustable in 1/2
stops
Viewfinder is
comfortable for
spectacle wearers
Weight and Build and
Balance
3 glass ND filters: 1/4,
1/16, 1/64
Familiarity with other
Canon handhelds
Histograms – dreamy!
In 2007 I reviewed Sound
Forge 9 and I was impressed
with it and since then I have
used this programme
constantly, so I was excited
when Sony produced Sound
Forge Pro 10 earlier this year
and I couldn’t wait to get my
hands on it to try it out.
Reading again the
introduction of that earlier review
I note that I was surprised by the
number of members of the IOV
that contacted me about rescuing
sound from projects where they
had lost control of their audio
and, to be honest, not much has
changed over the last few years.
I still get a regular stream of
members asking for help.
Sometimes I am able to provide
the assistance that is needed,
sometimes I am not. A phrase I
find myself quoting all the time is
“garbage in equals garbage out”.
Usually audio can be rescued if
attention has been paid to
getting a reasonably high quality
audio signal to begin with all that
is needed then is a good set of
tools.
So, from the outset, I want
reiterate the importance of
having a set of tools that can
Audio Sweeten or Audio Enhance
our recordings, which when used,
we hope, will make our audio
sound better. Sound Forge Pro
10 is one such tool and is a
powerhouse for video and music
producers and handles audioediting tasks very efficiently.
What do you get for
your money?
As with all the Sony software I
use the installation was not a
problem and very quickly I was
up and running. At first glance
not much was very different from
version 9, however this new
version contains a few major
enhancements. Some are more
obvious than others and some
are hidden away in the software
engine.
A few of the obvious
improvements are the inclusion
of event-based editing, built-in
CD authoring (rather than just in
CD Architect 5.2) and a few more
high-end plug-ins including some
from iZotope's Mastering Effects
Bundle. Documentation includes
a Quick-Start guide, Keyboard
Shortcut Commands, and a User
Manual. Sound Forge
documentation is also accessible
via the Sony Sound Forge
download website.
Ease of Use
Like most software there is a
learning curve but there are
concessions made towards
usability in Sound Forge Pro 10.
The depth of this software will
take newcomers to audio
22
July 2010
Focus Magazine
www.iov.com
manipulation a while to master,
but it is worth persisting with. It
is both efficient and reliable and
it gives you control over all the
aspects of audio editing and
mastering.
Importing a file is easy as it
can open and save in a variety of
audio and video file formats.
Sound Forge specialises in
preparing files for use in other
applications - be that another
Sony product like Sony Vegas or
your favourite nonlinear editing
software.
I particularly like the way
that over forty real-time effects
can be previewed before you
apply the function or save the
file. Simply sample an effect and
check the Bypass box to hear the
difference and, when you are
happy, you apply the effect or
function.
New Features
It has been a while since Sound
Forge 9 was released in 2007
and you would expect there to be
some major enhancements to the
software in that period and you
would not be wrong. Pride of
place goes to event-based
editing which causes events to
behave in a similar way to audio
objects in the Sony Vegas family
Review
of video editors as well as
allowing for more precise control
over the editing of audio clips
and fades. Once event editing is
activated an audio file ceases to
be treated as a continuous
stream and is treated as blocks
of audio, blocks which can be cut
and pasted and adapted.
Interactive Tutorials
Sony have included a number of
interactive tutorials which focus
on some of the new features like
event based editing, pitch
bending, creating ACID loops and
such like. These are all available
from the Help Menu and are a
real bonus.
Conclusion
Sound Forge Pro 10 is very
feature rich and it does integrate
well with other Sony software,
although in a future version of
Sound Forge Pro I would like to
see more integration with Sony
Not in a complete departure from
Vegas Pro. That said I believe
CD Architect 5.2 Sound Forge Pro
that Sound Forge is immense
10 can apply most of the
piece of software. I have been
features of CD Architect from the
using it over many years, since
timeline and can create Red Book
Sound Forge 8, and this software
compliant audio for professional
has been consistently reliable
reproduction. This is only
and has rescued me, and many
possible because of the new
others, from audio disaster on
event-based editing feature.
many occasions!
Sony continue there
It is true that the learning
relationship with iZotope and
curve for a beginner can be quite
they have added a further two
steep; however, I would not let
plug-in effects to the four
Sound Forge Pro 10’s complexity
previously provided adding a
put you off as it is easily
multi-band harmonic exciter and
learnable and will very quickly
stereo imager.
become an invaluable tool in
Thankfully it has not lost any
your production suite. I can
of its old tricks and it continues
honestly say that I do not know
to be able to convert and clean a
what I would do without it!
variety of recordings, and has
The big question I am facing
presets to convert scratchy vinyl
is, if you own version 9 is it
and noisy analogue tape to
worth paying for the upgrade or
digital audio and remove a host
not? I think in the end the
of hisses and hums, clicks and
answer is most definitely “yes”.
crackles and has tools to perform
Version 10 does provide more
clipped peak restoration and a
features and enhancements that
wide variety of audio restoration.
would justify an upgrade and if
you have not upgraded in recent
years then this would a good
time to do so.
Notes: I am very grateful to
Joanna Arnett of Sony Creative
Software for providing the software
for review.
www.iov.com
Focus Magazine
July 2010
23
David Howles M.M.Inst.V.
Thomas Jones M.M.Inst.V.
Kindred Films *
Ron Lee F.Inst.V.
Mirage Digital Video Productions *
Gordon Moore M.M.Inst.V.
Jeffrey Mortimer M.M.Inst.V.
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1a
01706 657835
0151 487 9338
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01663 762354
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0161 427 3626
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01706 230545
0161 797 6307
ABCDE
ABCDGN
BN
B
ABCG
ABCDFKLMN
ABC
B
ABCK
ABCK
ABCHJK
AKN
E. Midlands, S. Yorks, Humberside & Lincs. (Area 04a)
Dean Hodson M.M.Inst.V.
Geoff Knight F.Inst.V.
Adrian Medforth M.M.Inst.V.
Ben Newth M.M.Inst.V.
John Port M.M.Inst.V.
Shane Rumsey M.M.Inst.V.
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Gordon Simpson F.Inst.V.
Tim Smithies M.M.Inst.V.
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Chris Goulden M.M.Inst.V.
Philip Groves M.M.Inst.V.
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1b
2
19a
4b
19d
3
19b
4a
5
6
19c
10
9
13
14
11
15
12
16 - Channel Is.
THE LIST is designed to help qualified IOV members to
share work on a national scale and for potential clients to
find the right kind of videographer for their needs. The
List is divided into geographical areas, as shown above,
and specialist work types as listed below...
A
B
C
D
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F
G
H
I
J
K
L
M
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O
P
01224
01382
01764
01224
01224
01847
314999
520437
655655
703745
862100
895899
Scotland South (Area 1b)
Ken Neil F.Inst.V.
Tony Nimmo M.M.Inst.V
Pro-Create.Co.Uk *
Jonathan Robertson M.M.Inst.V.
Steve Towle M.M.Inst.V.
Michael Ward M.M.Inst.V.
Alex Crosbie M.M.Inst.V.
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Guy Kinder M.M.Inst.V.
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Lee Mulholland M.M.Inst.V.
0141 883 7168
01555 661541
0141 587 1609
0131 476 5432
0845 226 2167
0141 644 1136
01555 665236
01563 542195
01334 656922
0131 221 1697
0141 339 1797
0141 954 0840
01501 739153
01236 730770
01555 860382
01294 217382
North East England (Area 2)
Chris Hughes
Glenn Huntley M.M.Inst.V.
Brian Jenkinson M.M.Inst.V.
David Pethick M.M.Inst.V.
Mike Trewhella M.M.Inst.V.
Neil Wood-Mitchell M.M.Inst.V.
Michael Bell M.M.Inst.V.
Ian Black M.M..Inst.V.
Roger Brown M.M.Inst.V.
Andrew Charlton M.M.Inst.V.
Andrew Crinson M.M.Inst.V.
Chris Gillooly M.M.Inst.V.
07779 807538
0191 549 3675
0191 300 6292
07712 802922
0191 536 6535
0191 270 9063
01325 241821
01325 718188
07786 705066
01661 844542
07972 801466
0191 286 9800
Midlands (Area 6)
ABCDJKMN
ABCK
ACKN
ACK
ABC
ABFILMN
ABC
ACEFGK
ABCK
ABC
ABCKL
ABC
AB
P
ABN
ABCJK
ABCFGHJKLMN
ABCFGHJKLMN
ABCHKL
ABCFIKN
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AB
ACHIKN
ABC
North West England (Area 3)
Ken Stott M.M.Inst.V.
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Des Williams M.M.Inst.V.
Tony Williams M.M.Inst.V.
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Nick Farrimond M.M.Inst.V.
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Peter Hinkson M.M.Inst.V.
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24
July 2010
01282 414073
01704 531576
01768 899936
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01524 736573
0151 722 6692
01257 264303
01254 830823
01254 679625
01204 847974
01772 622522
0161 428 9646
01942 703166
01254 830823
0161 637 6838
07927 691454
01253 763764
0845 389 0039
01606 889975
01253 721993
01253 899690
ABCD
ABCKN
ABCJK
ABCNP
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ACK
ACFK
ABCKM
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CM
AKM
B
B
BC
ACK
BCD
Focus Magazine
ABCJ
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0113 218 9298
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01347 868666
01422 844392
01274 595421
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07800 787580
01943 870431
01937 588858
0113 258 8147
07979 914996
ABCFHK
ACDFGHJKLMN
ABCHJK
AB
ABCHKN
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ABD
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BCN
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ABCFIKN
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ACFJKLNR
Nick Kirk F.Inst.V.
Bob Langley M.M.Inst.V.
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01588 650456 ABCFGHIKN
01978 350122 ABCHKN
0845 427 5794 AC
A
01492 543246 CK
01743 891286 ABCKN
01244 570222 ACFKM
07775 965908 ABCFKN
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01490 430507 ABCFGHKLN
07836 702502
0121 308 6453
01902 893068
01902 342154
01455 202057
01530 836700
01283 567745
01676 541892
01676 541892
01384 271073
01782 746553
07708 506657
0845 257 8207
01858 410278
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01789 761331
01332 737525
01588 638116
01527 878433
07780 691809
01926 864800
01926 497695
01782 514942
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ACFGKL
AJMO
BC
A
AB
ABKN
AI
ABCFKGHMN
ACKN
ACGNO
ACDKMN
ABCKM
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ABJ
ABCK
East Anglia & A1 Corridor (Area 7)
ABCK
AB
ABCFJKMNO
ABCGILKMN
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Christopher Lawton M.M.Inst.V.
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Christopher Smith M.M.Inst.V.
Rowland Barker F.Inst.V.
PLEASE NOTE: In this listing Qualified Members have declared
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Mark Stuart M.M.Inst.V.
Ron Carmichael M.M.Inst.V.
Iain Johnston M.M.Inst.V.
Alan Rae M.M.Inst.V.
Brian Rae M.M.Inst.V.
Colin Sinclair M.M.Inst.V.
AN
ABCG
ACFJKLN
ABCFGJKLMN
ABCFGHIJKLMN
ACFGIKM
North Wales & Borders (Area 5)
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Training
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Scotland North (Area 1a)
ABN
ACDFGIKN
ABC
ABK
ABCEFGKMN
North & West Yorkshire (Area 04b)
7
8
01246 268282
01472 811808
01964 503771
0115 916 5795
01623 654446
01909 733291
07876 021609
01724 720111
01246 813713
01482 304830
01472 507367
01522 754901
0115 955 3989
01964 562073
01430 431634
01526 353225
01246 866673
Malcolm Wooldridge M.M.Inst.V.
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Hedley Wright M.M.Inst.V.
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01493 782174
01206 241820
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01502 712411
0800 970 6159
01603 630555
01603 260280
01473 257595
01728 452223
01842 862880
01603 610566
01493 441162
01263 862231
01733 370922
07984 005074
020 8517 6752
01473 711870
N
ABCFGKLN
ABCKN
ABCGK
BCN
ABCGKN
ACIJKLMNOP
ACFGKMN
AB
ABCKN
ABCDHK
CDKN
ABCEGKM
CAN
BLN
South Wales & Bristol Channel (Area 8)
Chris Wheatley M.M.Inst.V.
Peter Cluer M.M.Inst.V.
Michael Hill M.M.Inst.V.
Harley Jones M.M.Inst.V.
Manolo Lozano M.M.Inst.V.
Dawn Morgan M.M.Inst.V.
Andrew O'Leary M.M.Inst.V.
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Alan Vaughan M.M.Inst.V.
01242 579712
01453 832624
01242 674462
029 2052 0599
01792 520450
01792 776121
01656 650249
01646 651555
01437 769635
029 2066 6007
01453 884800
ABCDN
ACGKN
ABCDIKN
ABCFK
ABCN
ABCKN
ABCK
ACGJKLN
AFGLMN
ACFGN
West London, Middlesex & Herts. (Area 9)
Michael Lawson M.M.Inst.V.
Stuart Little M.M.Inst.V.
Anthony Myers M.M.Inst.V.
Alan Benns M.M.Inst.V.
Adam Carroll M.M.Inst.V.
Paul Cascarino F.Inst.V.
Andrew Cussens M.M.Inst.V.
John De Rienzo M.M.Inst.V.
Peter Fison M.M.Inst.V.
Mike Henson F.Inst.V.
020 7932 1190
020 8347 9567
020 8958 9838
020 8943 2666
07768 014503
020 8898 2229
0800 234 6368
07877 908143
020 8133 0081
01494 438904
ACFGKLN
BCK
ABCEKMN
ABCD
ABFN
ABN
ACFGHIKN
AJM
Oxfordshire & M1 Corridor (Area 10)
Hamish Maclean M.M.Inst.V.
Gordon O'Neill M.M.Inst.V.
Mark Shipperley M.M.Inst.V.
John Snelgrove F.Inst.V.
Jonathan Ashby M.M.Inst.V.
Anthony Barnett M.M.Inst.V.
www.iov.com
01582 596935
01494 773818
01844 237857
01442 250088
0845 053 5400
01553 776995
ABCN
ACFKM
ACFGJKMN
AFIKLN
David Blundell F.Inst.V.
Ray Burnside M.M.Inst.V.
Mario Crispino M.M.Inst.V.
First Sight Video*
Ken Franklin M.M.Inst.V.
Steve Hart M.M.Inst.V.
01234 764883
020 7193 0721
01295 262260
0800 072 0753
01993 868479
0800 633 5784
AJKL
ACGIKLN
ABCFHIJKLN
AB
ABC
ABCJKN
E. London, Essex & Hertfordshire (Area 11)
Tony Lench M.M.Inst.V.
Anthony Manning M.M.Inst.V.
Hugh Morris M.M.Inst.V.
Kresh Ramanah M.M.Inst.V.
John Rose M.M.Inst.V.
David Strelitz M.M.Inst.V.
Iain Wagstaff M.M.Inst.V.
Gillian Walters M.M.Inst.V.
Peter Walters M.M.Inst.V.
Andreas Andreou M.M.Inst.V.
Ian Burke M.M.Inst.V.
Zulqar Cheema M.M.Inst.V.
David Chevin M.M.Inst.V.
Fred Curtis M.M.Inst.V.
David Durham M.M.Inst.V.
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Jonathan Grose M.M.Inst.V
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Martin Klein M.M.Inst.V.
Elaine Laurie M.M.Inst.V.
01702 525353
020 8923 6068
020 8220 6955
07956 395345
01375 483979
01268 412048
01376 556417
01708 724544
01708 724544
0208 369 5956
ACE
ABCGN
FKLN
ABCHK
ABCN
ABCFKLMN
B
ABCFKN
ABCFKN
ABCKN
01279 413260
020 8502 7232
01708 343123
020 8504 9158
01702 293003
01279 757300
01206 793315
01462 892638
01707 655895
020 8502 6198
ABCDKLN
ABCKQ
ABCH
CGK
ABCFGHIKL
B
ABCK
West Country (Area 12)
Mark Huckle M.M.Inst.V.
David James M.M.Inst.V.
Ian Lewis M.M.Inst.V.
Muirgarth Limited*
Mark Brindle M.M.Inst.V.
Nicky Brown F.Inst.V.
Pip Critten M.M.Inst.V.
Mike Dutton M.M.Inst.V.
Jon Durrant M.M.Inst.V.
Chris Ellery M.M.Inst.V.
01872 270434
0117 979 2858
01752 691210
01985 844820
01271 891140
07771 757148
01752 361210
07050 262016
01761 232520
0117 910 9704
ABC
ABCKN
BCN
ABCHJN
ABC
AKN
ACDJKMN
ABCDEFGHIJKLMNO
B
ABC
Dorset, Wiltshire & Hampshire (Area 13)
Ernie McKenna M.M.Inst.V.
Eric Montague M.M.Inst.V.
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David Angus M.M.Inst.V.
Steve Axtell M.M.Inst.V.
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Maurice Brake M.M.Inst.V.
Nick Curtis M.M.Inst.V.
Steve Feeney M.M.Inst.V.
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Otton Hulacki M.M.Inst.V.
Clive Jackson M.M.Inst.V.
Ray Joyce M.M.Inst.V.
Patrick Kempe F.Inst.V.
Kazek Lokuciewski M.M.Inst.V.
Tim Martin M.M.Inst.V.
01373 832763
01202 486330
01725 511688
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01793 845060
01202 718522
01590 623077
01202 512449
01794 324147
01962 622549
01256 850142
01256 817926
01983 884845
01329 236585
01202 692008
01590 675854
0118 965 6322
01985 212863
ABCKN
CAN
ABCN
BCK
ABCDJ
BCKN
P
ALM
ABC
ABCHIKMN
ABCKN
ABCDFIKMN
ABCFGKL
ABCJKN
ABCKMN
ACGKN
ABCGHK
ABCDEFGIJKN
AGIJN
Surrey, Berkshire & Sussex (Area 14)
Gerald Thornhill M.M.Inst.V.
Chris Towndrow M.M.Inst.V.
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Mike West M.M.Inst.V.
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Mark White M.M.Inst.V.
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01342 300468
0845 450 0961
01293 886484
01628 528682
01903 892951
01372 360145
01329 505501
020 8653 9289
020 8661 7703
07966 312250
01323 430800
0800 040 7921
01372 273527
01428 684468
01344 777010
0118 961 9981
023 9225 0618
01483 765605
0118 947 8333
023 9269 7890
07766 484559
01252 821623
01489 581397
01983 612704
01903 766464
01428 652832
01932 563318
01737 373992
Kent & SE London (Area 15)
Michael Moore M.M.Inst.V.
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Brett Allen F.Inst.V.
Ben Bruges M.M.Inst.V.
Colin Fowler F.Inst.V.
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Alan McCormick M.M.Inst.V.
Antony Meade M.M.Inst.V.
Roger Missing M.M.Inst.V.
01634 220839
01322 526653
01622 202953
01843 599916
01634 723838
01634 720321
07766 052138
01732 454593
01892 652379
01959 576255
01795 424248
020 8304 9017
01634 301930
01303 210250
01322 663098
ABCGHKN
ABC
ACDFKLMNO
AB
BC
B
BC
BCD
ACFK
ABCJKM
ABCDEFIJKMP
BCK
AJMN
AJN
ABKL
ABCKLN
ACFKMN
ABL
ABCFGIKMN
AB
CO
ABC
ABCK
ABCEGKN
B
ABCK
N
ABN
BCFG
ABCDEFK
ABCHKM
ABCFGJKLN
ABCGHK
ABJKN
ABCGIK
ABCFHIJKMN
AIN
AC
Channel Islands (Area 16)
Peter Laine M.M.Inst.V.
David Le Brocq F.Inst.V.
01481 736606 ACGJKM
01534 723166
Ireland - Ulster (Area 19a)
Cathal Hegarty M.M.Inst.V.
Martin Stalker M.M.Inst.V.
John Doran M.M.Inst.V.
Frazer Smyth M.M.Inst.V.
028
028
028
028
3754
3834
9020
9267
8749 ABCDEFGHKLMNO
1681 ABCEGKNO
0736 ABCDEFHKLMN
1958
Ireland - Leinster (Area 19b)
Keith Malone M.M.Inst.V.
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00353 87 681 4208 ABCEFGHKLMN
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Michael Lynch M.M.Inst.V.
00353 87 2554605 BM
Ireland - Connacht (Area 19d)
John Murphy M.M.Inst.V.
Rest of World
00353 93 35933 BCKN
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* indicates Corporate Member
Article
to cause much ‘trouble’). But
hitherto I hadn’t come across
educationalists so bold as to
come so far out of their closets.
And in Australia of all places!
Kevin
3D Again
‘Oh no’ he countered ‘we are
obliged to show it as a separate
Okay I know that I risk being
admin charge - it’s all about
labelled as a Luddite but the
transparency don’t you know’.
more I read about 3D, and the
‘But it’s not transparent at all’ I
adverse reactions to it from a
wide spectrum of commentators, shot back, ‘it’s actually a way of
pretending that your premiums
the more I think that 3D could
go the way of the likes of Smell- have remained the same
whereas in reality you’ve put
O-Vision, Smell-O-Rama and
‘em up by 30%’.
Scentovision (and 1950s 3D for
‘No, no’ he said ‘we are
that matter) none of which
obliged to show it this way’. ‘So’
gained the public’s affection.
I said ’an outside body is
At best I believe that 3D is
obliging you to show a separate
likely only to occupy a niche
admin charge for these
position in film and TV
transactions. What body is this
production. Screens that can
and what specific regulation are
display both 2D and 3D may
they applying?’ A momentary
well become standard but the
pause ensued and then ‘Well it’s
sort of films and programmes
made in 3D will surely be limited standard industry practice and
to all-action dramas and certain all of our competitors are doing
it.’
sporting events?
‘So you’re actually just
When is a price increase not
following your competitors in
a price increase?
I got the usual annual quote employing weasel words to
mislead your customers into
the other day from our regular
insurer for our Public Indemnity thinking that your premiums
have remained unchanged for
insurance. Initially I was
the past year. How disgraceful.’
delighted to note that the
‘I wouldn’t put it like that’ he
premium quoted on the policy
document remained the same as said.
‘Well I do’ I responded.
the previous year at £96.50. But
as I was writing out a cheque I
glanced at the accompanying
1984
invoice and noted that an
A young Australian friend of
additional £30.00 had been
mine told me recently that while
charged for ‘administration’.
she was working in an Australian
I checked the previous
library she discovered that
year’s papers and confirmed
Australian schoolchildren are
that there was no such addition
allowed to use ‘text speak’
for 2009 and then decided to
during their school exams.
ring my insurer to complain
Apparently this is quite a
about this near 30% increase in widespread practice in Australia.
a single year. The very nice
I have for many years
young man there assured me
believed that there are certain
that indeed the premiums hadn’t folk who would like to see
gone up but due to ‘European
society divided between an
regulations’ they had had to add educated elite with access to the
the £30.00 admin charge.
full range of expression in the
‘But’ I exclaimed ‘surely if
language, and a much larger
your admin costs have gone up
number of ‘prols’ restricted to
simplistic language employing
this is an increase in your
simplified spelling and
overheads and should be
punctuation and a limited
reflected in the premium
vocabulary (and so ill-equipped
charged not shown separately?’
No - not our esteemed magazine
editor but an asian-sounding
gentleman who regularly rings
me to tell me that there is
something wrong with my
computer.
He insists that he is ringing
me from the Microsoft help
centre and that my computer
has sent an automated message
indicating that it is infected with
horrible viruses. He always asks
for ‘Little Stuart’ (which I always
correct) but when I ask him
which of our four networked
computers has performed this
deed he can never tell me even
if I ask him to tell me its IP
address. I also invariably ask
him how is it that he is ringing
my private number which isn’t
published or connected to the
computers or our business but
he doesn’t respond to that
either.
The conversation always
ends with me telling him that he
is suffering from a delusion and
isn’t actually employed by
Microsoft at all. But within a
week – ring, ring - ‘Can I please
speak with Little Stuart?’ and off
we go again.
Now I’m a kind sort of fellow
and don’t like to upset anyone,
and to be honest I quite look
forward to his cheery calls, but I
have decided that the next time
he rings I am going to inform
him that, given that he keeps
forgetting our previous
conversations (which I find quite
hurtful), rings a number that he
cannot possibly have got from
Microsoft records, doesn’t know
what an IP address is and
forever calls me ‘Little Stuart’, I
am in future just going put the
phone down as soon as I hear
his voice.
Yes I appreciate that it’s not
nice and I will feel very bad
about it. But you know I’m not
altogether convinced that his
real name is Kevin anyway. And
I’m certainly not ‘Little Stuart’.
Stuart Little M.M.Inst.V.
www.iov.com
Focus Magazine
July 2010
25
CLASSIFIED SECTION
CLASSIFIED SECTION
CLASSIFIED SECTION
CALL KEVIN COOK ON 020 8502 3817 FOR MORE DETAILS
Equipment & Service Suppliers
Advertise your Products
& Services here
Call 020 8502 3817 or email [email protected]
for more details
SALES & WANTS
SALES & WANTS
SALES & WANTS
CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UK
SALES & WANTS RATES: IOV Members - £15.00 Plus VAT per advert
Non-Members - £20.00 Plus VAT per advert
Cameras/Camcorders
Canon XH-A1
With wide angle adapter lens/hood
fitted. The camera is in good condition &
working order. Boxed with owners
manual. Open to reasonable offers.
Contact Ian: 07973 30 40 23
[188]
Sony PD150
PSU, mike, manual Op 170x10h, Drum
85x10h, TapeRun 70x10h, Thread
286x10h. Cash sale only, buyer collects
London, £750 ono ex VAT IOV members
Contact Tim: 01172 300 710
[188]
Sony HVR V1E setup
Sony HVR V1E setup for sale + Sony URX
system, Manfrotto 528 tripod, Lightpanels
LP-Micro, Bayer reporter mic. http://
bit.ly/aCKQEc £3000
Contact Andy: 07847 535777
[187]
Sony HVR-Z5E Camcorder
With HVR-MRC1K Memory Recording
Unit. Operation 54x10, Drum Run 46x10,
Tape Run 20x10 Includes 1 Year Sony
Warranty. As new £2950 ono
Contact Les: 01474 702220
(based in Longfield Kent)
[186]
SONY Z1 CAMCORDER
Sony Z1 in Perfect condition £2000
Operation: 50 X 10 hours, Drum Run: 46
X 10 hours, Tape Run: 29 X 10 hours,
Threading: 60 X 10 hours. Also for sale:
JVC5100 with Fujinon S17x6.6 lens
(VF116 Viewfinder!). Recently serviced
670 Hours (Small crack on bottom)
£1750. Sony VX2100 in perfect working
order £1100.
Contact: Isaac 0781 2097692
[186]
SONY Z1 CAMERA AND CARRY CASE
Operation: 56 X 10 hours, Drum Run: 38
X 10 hours, Tape Run: 21 X 10 hours,
Threading: 59 X 10 hours. All inclusive
package for £2,500 plus shipping costs
Including: Manfrotto Tripod and Bag,
Microphone, Weather Hood, Shoulder
Brace, Additional Lens: Sony VCLHG0872, Cleaning Cloth and Pouch
Charger, Sony Remote Control, Battery
operated night light, Sony Battery
NPF970 X 2 hours, 2 X Sony Batteries NP
F570 X 8 hours and DV Tapes.
Contact: Susie: 01844 274734 (Voice) or
07966 913422 (Text preferred)
[186]
Sony HDR HV1000e
As new Sony HDR HV1000e still under
Sony Silver support; less than two years
old. Just 8x10 hour operation and 7x10
hour drum run. Great secondary or stand
by camera. New camera forces sale. £750
ONO. Can sell with Kata bag if necessary.
Contact Matt: 07813030345
[186]
Sony HVR-Z5E with MRC1K Card Reader
Operation 54x10,Drum Run 46x10, Tape
Run 20x10 with Sony Warranty. As new
£3200 ovno
Les Watts: 01474 702220
[185]
Miscellaneous
MAC BOOK PRO + FINAL CUT SUITE
STUDIO 2
Our mobile production suite, very light
use, all still boxed and in excellent
condition. Macbook Pro 3.1, Intel 2 Core
Duo 2.4Ghz, 3GB Memory, 149Gb HD,
Bus 800Mhz, 17” LCD, GeForce 8600M
Graphics Card, Firewire 800 & USB 2.0.
Includes Full Version Final Cut Studio 2
Software Suite boxed with manuals.
£1,450.00 INC VAT + UK Carriage.
Contact: Stuart 0115 939 3322 (8am4.30pm Mon-Fri)
[188]
Tele Prompter
13" colour studio mains powered tele
prompter, all hardware, mirror unit,
colour screen, for full sized cameras.
Hardly used, all flight cased for transport.
Buyer collects somerset, £850 ono ex
VAT IOV members.
Contact Tim: 01172 300 710
[188]
JVC BR HD50 Deck
Having just changed from JVC to Sony i
have a JVC HD playback deck for sale.
Less than 200 hours still have box and all
accessories (i think). Would consider deal
on similar Sony deck (HDV /1080i).
£1100 ono
[187]
Contact Neil:
[email protected]
2 UNITS - KINO FLO 4 BANK LIGHT/
GAFFER KITS
2 X 4 Bank Kino Flo Light Kits with Carry Case
- £1,000 plus shipping costs. EXCELLENT FOR
PROFESSIONAL KEYING. 4-Lamp remote
fixture w/ built-in barndoors. Fixture includes
Reflector, Louver, and Removable Harness.
Same fixture takes daylight and tungsten
lamps, plus visual effects colour lamps.
Mount to stand, light enough to tape to wall.
Removable centre-mount. Fixture or lamps
w/ harness run up to 75 feet (24 meters) from
ballast. High-output, flicker-free ballasts.
Instant-on, dead quiet. Individual lamp
switching - no colour shift. HO/Std switching.
Same ballast runs 4ft and 2ft lamps.
Operates at 1/10th the power of conventional
tungsten softlights. UL listed, CE approved.
[186]
SWIT S-1080 BS Monitor & Carry Case
Very user friendly and flexible monitor - £300
plus shipping costs. Screen Size: 8”, Format:
PAL/NTSC, Aspect Ratio: 16:9/4:3,
Resolution: 800xRGBx480, Signal Input: YUV/
YC/Composite with Audio
Email: [email protected] [186]
Call 020 8502 3817 or order on-line at www.iov.co.uk
26
July 2010
Focus Magazine
www.iov.com
SALES & WANTS
(maximum of 25 words or thereabouts)
HAGUE TRIPOD TRACKING DOLLY D5T
£350 plus shipping charges. Tracking
Dolly and Carry Case - Used only once as new. 6 Track connectors. 12 Metres of
Track. 8 X 1.5M = 6 Metre Run
[186]
HVR-M15J
Plays and records full size and mini size
HDV,DV and DVCAM tapes 220 hours
tape run, 2.5 years old Excellent
condition, looks and works like new.
Comes with manual, AC adapter, remote
control and stand £800 o.n.o
Contact Wesley: 07970 794906
[186]
Sandisk Extreme 32GB Class 10 SDHC Card
Allowing 1080i & 720p recording with
east. £125.00 NCL. DELIVERED (UK
MAINLAND ONLY) PS. Call for CHEAP
SONY PMW SERIES CAMERAS MEDIA
OPTIONS. For more info. & payment
methods...
Contact George: 07949 265049 [185]
WANTED
Sony HDR-SR8 and/or HDR-SR7
Contact John: 0116 270 0446
[188]
Merlin Steadicam
Complete package system ie
steadicam/arm/and vest.
Contact John: 07766691869
[187]
Various
Sony VX2100, PD150, PD170, Z5, or
DSR-400. May consider other cameras
and accessories including tripods. Cash
waiting.
[185]
Contact Mr. Kumar: 07920 761141

Focus - Institute of Videography

Transcription

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